Sofia Coppola is the perfect director to remake… | Little White Lies

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Sofia Cop­po­la is the per­fect direc­tor to remake The Beguiled

30 Mar 2016

Words by Phil W Bayles

Two women in elaborate period costumes, one in a light pink dress and the other in a silver gown, conversing in an ornate interior setting.
Two women in elaborate period costumes, one in a light pink dress and the other in a silver gown, conversing in an ornate interior setting.
Elle Fan­ning and Kirsten Dun­st are set to return for the director’s update of the 1971 Clint East­wood thriller.

After we recent­ly bemoaned the trend of Hol­ly­wood mar­ket­ing cam­paigns that kept promi­nent female char­ac­ters in the dark, here is a direc­tor who brings them front and cen­tre through sheer force of will.

Much of Sofia Coppola’s work is about women grap­pling with their iden­ti­ties, from Kirsten Dunst’s lone­ly queen in Marie Antoinette to Elle Fanning’s pre­co­cious pre­teen celebri­ty in Some­where. As such, the news that her next film will be a remake of Don Siegel’s 1971 film The Beguiled, which takes place in an all-girls’ board­ing school, is par­tic­u­lar­ly exciting.

On 29 March Vari­ety report­ed that both Fan­ning and Dun­st are in talks to star, along with Nicole Kid­man. The orig­i­nal film starred Clint East­wood as a Con­fed­er­ate sol­dier whose life is saved by a 12-year-old in a Louisiana school. As he’s nursed back to health by the teach­ers he slow­ly starts to charm his way to some of the women’s hearts, sow­ing jeal­ousy through­out the school. There is no word yet on who will play the injured sol­dier, but it’s being report­ed that a Chris Pratt type” is being sought for the role.

Siegel’s film, and in par­tic­u­lar its mar­ket­ing, focused heav­i­ly on Eastwood’s char­ac­ter, which led to back­lash from some crit­ics who believed that he was being emas­cu­lat­ed’. In Coppola’s hands, how­ev­er, expect it to be a very dif­fer­ent prospect – think Hard Can­dy crossed with Mis­ery. Also, look out for Elle Fan­ning in Nico­las Wind­ing Refn’s fash­ion indus­try satire-cum-hor­ror The Neon Demon lat­er this year.

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